Kurt Weill Centenary Volume 17 in This Issue Kurt Weill Numbers 1-2 Newsletter Kurt Weill Centenary Fall 1999
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Volume 17 Kurt Weill Numbers 1-2 Newsletter Fall 1999 Kurt Weill Centenary Volume 17 In this issue Kurt Weill Numbers 1-2 Newsletter Kurt Weill Centenary Fall 1999 Die Bürgschaft 4 “Wie lange noch?”: Die Bürgschaft and Its Times by Kim H. Kowalke 5 ISSN 0899-6407 Die Bürgschaft at Spoleto USA by David W. Maves 7 © 1999 Kurt Weill Foundation for Music 7 East 20th Street Press clippings from Spoleto USA 10 New York, NY 10003-1106 Der Weg der Verheißung 12 tel. (212) 505-5240 fax (212) 353-9663 Sleepless in Chemnitz by Horst Koegler 13 The Newsletter is published to provide an open forum Press clippings from Chemnitz Opera 16 wherein interested readers may express a variety of opin- The Eternal Road: Synopsis ions. The opinions expressed do not necessarily represent by Ludwig Lewisohn 18 the publisher’s official viewpoint. The editor encourages the submission of articles, reviews, and news items for inclusion Scholars Debate Der Weg der Verheißung in in future issues. Chemnitz, 11–13 June 1999 by Ricarda Wackers 22 The Firebrand of Florence 24 Staff David Farneth, Editor Lys Symonette, Translator Operetta as Revenant: The Firebrand of Florence by Joel Galand 25 Edward Harsh, Associate Editor Dave Stein, Production Carolyn Weber, Associate Editor Brian Butcher, Production The Firebrand of Florence at Ohio Light Opera by James Lovensheimer 29 Kurt Weill Foundation Trustees Press clippings from Ohio Light Opera 32 Kim Kowalke, President Paul Epstein Books Lys Symonette, Vice-President Walter Hinderer Philip Getter, Vice-President Harold Prince Kurt Weill: Die frühen Werke 1916-1928 edited by Heinz-Klaus Metzger and Rainer Riehn Guy Stern, Secretary Julius Rudel Tamara Levitz 33 Milton Coleman, Treasurer Caspar Neher: Der grösste Bühnenbauer unserer Zeit edited by Christine Tretow and Helmut Gier Jürgen Schebera 34 Internet Resources Performances World Wide Web: http://www.kwf.org E-mail: Silver Lake in London (with new RCA recording) Information: [email protected] Andrew Porter 35 Weill-Lenya Research Center: [email protected] Street Scene in Colorado Kurt Weill Edition: [email protected] Jim Lillie 37 One Touch of Venus in Freiburg Andreas Hauff 38 “Brecht-Weill Evening” in Copenhagen Niels Krabbe 39 Supplement: Topical Weill Cover: Weill at Brook House, 1946. Photo: Karsh Kurt Weill Newsletter Volume 17, Numbers 1–2 3 New Century New Discoveries I've suddenly been promoted to the rank of "classical composer," and people are beginning to talk about the "historical significance" of my work. I just found out that the studio of the Metropolitan Opera will perform my old opera Der Zar lässt sich photogra- phieren. (Weill to his parents, 6 September 1949) In completing one discovery we never fail to get an imperfect knowledge of others of which we could have no idea before. (Joseph Priestley) In private, Weill probably cared a bit more about posterity than his public persona would allow. He obviously took pride in the unearthing of one of his "old operas" in 1949, and the idea of being called "historically significant" while still middle-aged elicited more than a modest smile. But the process of rediscov- ery of his forgotten works did not begin until several years later, nor did it happen quickly. Even fifty years after his death our view of the whole Weill, in all his variety, is still not complete. Lenya's recordings in the 1950s, the Berlin Festival in 1975, and the Dusseldorf Festival in 1990 answered many questions but posed even more. Now, at the beginning of Weill's centenary season, the process of inquiry and discovery continues. This special issue of the Kurt Weill Newsletter presents articles and press clippings about three important but largely unknown stage works whose modern-day revivals this summer inaugurat- ed the worldwide celebration. Die Bürgschaft, Weill's last German opera, received its American premiere in May at the Spoleto USA festival in Charleston, South Carolina under conductor Julius Rudel. Kim H. Kowalke investigates some of the reasons for the neglect of a composition that some call Weill's masterwork, and composer David W. Maves shares his thoughts about the music and the Spoleto production. The Chemnitz Opera production of Der Weg der Verheißung, in Germany, was more than a revival; this production premiered the original German text and Part IV (Prophets), which was cut from the original production before it opened in New York in 1937. Internationally known German critic Horst Koegler writes his personal reactions to the work and analyzes its recep- tion in the German press. For the benefit of readers who will see the traveling production in New York, Hannover, Tel Aviv, or Kraków, we reprint the complete plot synopsis that appeared in the original 1937 souvenir program. Until the Ohio Light Opera mounted The Firebrand of Florence in Wooster, Ohio, Weill's American operetta with lyrics by Ira Gershwin had not been seen since its 1945 pre- miere. Joel Galand, who is editing the work for the Kurt Weill Edition, discusses some of the reasons that the original produc- tion of Firebrand failed to find an audience, and James At the time of One Touch of Venus, 1943. Photo: Vandamm. Lovensheimer reviews the revived work in its slightly altered form. Kurt4 Weill Newsletter Volume 17,14, NumbersNumber 1 1–2 Kurt Weill Newsletter1 Premiere: 10 March 1932 Städtische Oper, Berlin Carl Ebert, director Fritz Stiedry, conductor Caspar Neher, designer Revival: 30 May 1999 Spoleto USA Charleston, South Carolina Jonathan Eaton, director Julius Rudel, conductor Danila Korogodsky, designer Die Bürgschaft Dale Travis (Orth) and Frederick Burchinal (Mattes) in the Spoleto USA production of Die Bürgschaft. Photo: Nan Melville Kurt Weill Newsletter Volume 17, Numbers 1–2 5 hour broadcast slot.) The opera was not recognizable as Weill’s. Wie lange noch?: Lenya turned ashen, then seethed in outrage, and finally sank back in resignation: “Wie lange noch?”. A year later she was dead, her Die Bürgschaft and Its Times longing to see Die Bürgschaft restored to the repertory still unsatis- fied. I can confidently say that nothing would have pleased Lenya more than to have witnessed the ten-minute ovation which greeted by Kim H. Kowalke the American premiere of Die Bürgschaft last May with Julius Rudel conducting the revelatory Spoleto USA production and subsequent “I have a tremendous longing to hear the music of Die Bürgschaft,” cast recording. Lenya wrote to Weill in Paris in October 1933. “It would be like a “A stunning work that knits together Weill’s intense social and purifying bath in the River Jordan or the Ganges.” Her diction, political concerns with compositional skill and invention of the uncharacteristically religious in its references, might have rung highest order,” raved Heidi Waleson in The Wall Street Journal. false under other circumstances. But Weill and Lenya’s divorce had Other astonished critics cornered me in Charleston and inquired, just been finalized. She was in Berlin, temporarily separated from “how could so powerful an opera have languished in obscurity for her “Flying Dutchman” paramour, tenor Otto Pasetti, and living fifty years after Weill’s death?” Though Musical America described alone in the house in Kleinmachnow which Weill had given her two it in 1932 as “the first operatic work of distinctly modern hue that years earlier for her 34th birthday, just as he was putting the finish- has met with approval from all quarters,” Die Bürgschaft has had to ing touches to the Bürgschaft partitur. He had moved into the house wait far longer for revival than less worthy contemporaneous a few days before its premiere in March 1932, but by then he was “entartete” works or later operas premiered under the aegis of the deeply involved with its librettist’s wife, Erika Neher. One day Third Reich, including Neher-related pieces by Orff and Wagner- Weill found a warning in his mailbox: “What’s a Jew like you doing Régeny. How could Weill’s most ambitious work, widely hailed in a community like Kleinmachnow?” Lenya soon left for Vienna, after its three successful productions in 1932 as the “starting point where she was to play Jenny, onstage and off, to Pasetti’s Jimmy in for a new type of modern German opera” by the “only real opera Mahagonny. When Lenya and Weill eventually reunited for their composer in Germany,” have been so neglected? Atlantic crossing in 1935, Die Bürgschaft was left behind, though A simple question—but one which would require a monograph not quite forgotten: a decade later, Weill would describe Street about twentieth-century musical aesthetics, cultural politics, and Scene to his brother as his “most important work since Die reception history to answer satisfactorily. The short, pat answer: Bürgschaft.” But he died believing that the full score, orchestral Die Bürgschaft had no role for Lenya and no text by Brecht. material, and crucial “notes for production” had been destroyed Because it required operatic voices throughout and showcased no during the war or simply lost by Universal Edition. “songs” capable of popular exploitation, it was not a candidate for Lenya’s longing for Die Bürgschaft was finally fulfilled, but only Lenya’s Philips/Columbia recording series, which in turn would in part, by the first (and, until 1998, sole) postwar stage production fuel the so-called Weill-renaissance of the late fifties that eventual- in October 1957—in a “new version” at West Berlin’s Städtische ly restored Die sieben Todsünden, Aufstieg und Fall der Stadt Oper (by Caspar Neher and the original director, Carl Ebert) that Mahagonny, and even Happy End to the repertory. Leaving behind Lenya deemed a disservice to Weill and the work. (UE had by then the pastiche and parodic aspects of Die Dreigroschenoper and managed to locate performance materials, but not for the critical Mahagonny in favor of what Weill termed “the thoroughly respon- new scene in Act II dating from January 1932, which didn’t resur- sible style” incipient in Der Jasager and Der Lindberghflug, Die face until 1993).